Le plurilinguisme dans le roman portugais contemporain (1963- 1983): caractéristiques, configurations linguistiques et énonciatives

THÈSE pour l’obtention du grade de DOCTEUR

O SUJEITO DE SI NO DISCURSO MEDIEVAL - EM TORNO DO SOLILÓQUIO (DE SANTO AGOSTINHO AO ROMAN DE TRISTAN DE THOMAS D'ANGLETERRE)

Agostinho parece ter sido o primeiro a utilizar o termo solilóquio para designar uma forma específica do diálogo interior da alma que coloca como interlocutores o eu e si próprio. De certa forma, esta estrutura dialógica do solilóquio prolonga os diálogos socráticos, mas situando a interrogação do eu sobre si mesmo no interior do eu, ou seja, tornando-a um exercício preponderantemente mental ainda que passe pelo discurso verbal. O objectivo é fazer desenrolar um diálogo interior em que o indivíduo se vai dando conta progressivamente da ignorância em que está acerca de si mesmo. O Soliloquium1 , atribuído a Agostinho, aprofunda e insiste nesta vertente do discurso interior que constituía já o modo discursivo nas Confissões. Com a utilização desta técnica cria-se um novo procedimento ético segundo o qual a literatura é posta ao serviço da filosofia.

The Vase’s Representation (Cantharus, Crater) on the Roman Mosaic in Portugal: A Significant Formal and Iconographic Path from Classic Antiquity to Late Antiquity

11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH  20TH, 2009, BURSA TURKEY Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era

The roman theatre of Bracara Augusta

This paper aims to present the main features of the roman theatre of Bracara Augusta identified in 1999. Although it is still under study, a significant set of evidence made it possible to present its characteristics, to value the socioeconomic issues related with its construction and to discuss the aspects related to the development of the NW Iberian Peninsula cities, where traditionally this type of equipment was believed to be absent, and to understand the diffusion of roman public architecture models in peripheral regions within the Western Empire.

The ceramic artifacts in archaeological black earth (terra preta) from Lower Amazon Region, Brazil: chemistry and geochemical evolution

This paper carried out a chemical investigation of archaeological ceramic artifacts found in archaeological sites with Black Earth (ABE) in the Lower Amazon Region at Cachoeira-Porteira, State of Pará, Brazil. The ceramic artifacts, mostly of daily use, belong to Konduri culture (from 900 to 400 years BP). They are constituted of SiO2, Al2O3, Fe2O3, Na2O and P2O5; SiO2 and Al2O3 together add up to 80 % and indicate influence of acid rocks, transformed into clay minerals basically kaolinite. The relative high contents of P2O5 (2.37 % in average) come out as (Al,Fe)-phosphate, an uncommon fact in primitive red ceramics, but found in some roman and egyptian archaeological sites. The contents of the trace elements are similar or below the Earth's crust average. This chemical composition (except P2O5) detaches saprolite material derived acid igneous rocks or sedimentary ones as the main raw material of the ceramics. The contents of K, Na and Ca represent the feldspars and rock fragments possibly introduced into saprolitic groundmass, indicated by mineralogical studies. The presence of cauixi and cariapé as well as quartz sand was confirmed by optical microscope, SEM analyses and by the high silica contents of ceramic fragments. Phosphorus was possibly incorporated into groundmass during cooking of foods, and ABE soil profile formation developed on yellow Latosols. The raw materials and its tempers (cauixi, or cariapé, feldspar, crushed rocks, old ceramic artifacts and quartz fragments) are found close to the sites and therefore and certainly came from them.

Cooking process evaluation on mercury content in fish

This study evaluated different cooking processes (roasted, cooked and fried) on total mercury (Hg) content in fish species most consumed by Manaus residents and surrounding communities, Amazon region. The results obtained for total Hg in natura and after the three types of preparation (roasted, cooked and fried) for 12 fish species showed a significant Hg concentration variation. In the present study the cooked and frying processes resulted in higher Hg losses for Pacu, Pescada, Jaraqui, Curimatã, Surubin and Aruanã fish species, most of them presenting detritivorous and carnivorous feeding habits. The higher Hg losses in the roasting process occurred for Sardinha, Aracu, Tucunaré, Pirapitinga, Branquinha and Tambaqui fish species, most of them being omnivorous and herbivorous fish species. Some micronutrients (Ca, Fe, K, Na, Se and Zn) in fish species in natura were also determined in order to perform a nutritional evaluation regarding these micronutrients.

Biotechnological valorization of waste cooking oils: lipase and microbial lipids production by Yarrowia lipolytica

[Excerpt] Waste cooking oils (WCO) generated from vegetable oils used at high temperatures in food frying, cause environmental problems and must be reutilized. New strategies to valorize these wastes are attracting a great scientific interest due to the important advantages offered from an economic and environmental point of view. A microbial platform can be established to convert low-value hydrophobic substrates, such as waste cooking oils, to microbial lipids (single cell oil, SCO) and other value-added bioproducts, such as lipase. (...)

La voix-over du Roman d'un tricheur et sa postérité dans Providence. A propos de la résurgence de pratiques "bonimentorielles".

Partant de la réception internationale du film Le Roman d'un tricheur de Sacha Guitry dans laquelle la voix du cinéaste est fréquemment rapprochée de celle du "bonimenteur" de l'époque muette, cette étude examine les particularités de ce film en termes de positionnement du narrateur over par rapport aux images et par rapport au spectateur. Une filiation est posée entre ce film et Providence de Resnais au niveau des manifestations de l'oralité: là aussi, le narrateur occupe la place d'instigateur du monde filmique et de spectateur des images qu'il commente.

Influència de la música italiana en la composició en llengua roman�� a la catedral de Tortosa (Tarragona), en la primera m. del segle XVIII

Estudi realitzat a partir d’una estada a la Società Italiana di Musicologia entre abril i maig del 2006. S’ha estudiat la influència de la música italiana durant les primeres dècades del segle XVIII, en les composicions en llengua roman�� d’aquesta època conservades a l’arxiu musical de la catedral de Tortosa -Tarragona -. Sha a consultat de bibliografia específica així com la consulta directa de fonts italianes de l’època i l’estudi de les seves característiques (tipus d’escriptura, compasos més freqüents, estructura formal, veus/instruments utilitzats, ...). La consulta s’ha fet a diferents arxius i biblioteques romanes (arxiu històric i biblioteca de la Accademia Nazionale di S. Cecilia, biblioteca del Pontificio Istituto di Musica Sacra, arxiu de la Chiesa del Gesú, arxiu de la Chiesa Nazionale Spagnola, biblioteca del Conservatorio di musica Santa Cecilia i Biblioteca Nazionale Centrale Vittorio Emanuele II), així com de la Biblioteca Apostolica i el Archivio Segreto del Vaticano. La recerca ha confirmat que, durant les primeres dècades del segle XVIII, hi ha una influència considerable de la música italiana “de moda” en les composicions de la catedral de Tortosa escrites en llengua vernacla i, després d’un estudi comparatiu i de l’anàlisi d’una mostra de les obres italianes i de la Seu, s’ha arribat a la conclusió de que, si bé hi ha elements italians en les composicions tortosines, no es perd en elles el llenguatge hispànic de la tradició, si no que més bé hi ha una convivència de tots dos, fins i tot en una mateixa obra.

La parola raccontata dai cavalieri-narratori nella "Continuation du Roman de Meliadus" (ms. Ferrell 5)

Copiato nell'Italia del Nord verso il 1350, il manoscritto Ferrell 5 è oggi il solo testimone della "Continuation du Roman de Meliadus" che racconta le avventure di Artù, di Meliadus il padre di Tristano, e del Buon Cavaliere senza Paura padre di Dinadan, partiti alla ricerca di Morholt, prigioniero su di un'isola lontana. Ora, questa inchiesta è solo un pretesto: al centro dell'interesse dei tre re non sta tanto l'avventura promessa quanto i racconti che essi collezionano in occasione dei diversi scali di questo viaggio per mare, durante il quale non succede quasi niente. La ricerca di Morholt agisce quale racconto-cornice che non solo mette in scena le condizioni della presa di parola da parte dei cavalieri-narratori e organizza i racconti, anzi li drammatizza, ma funziona anche da matrice che informa, feconda e rigenera questi stessi racconti. Quanto all'isolamento, imposto dalla navigazione, esso permette lo sbocciare di una piccola ma prestigiosa società di narratori che non ha nulla da invidiare a quella delle raccolte di novelle. Così, un racconto dopo l'altro, si definisce un'arte di narrare che espone ed esplora i legami tra valore del racconto e bontà della cavalleria: la perfezione poetica, fonte del piacere estetico, è solo l'altra faccia della perfezione cavalleresca.